Library has vol. 1 and 2, which includes (Vol. 1) The Deerslayer--The Pathfinder--The Pioneers-- (Vol. 2) The Last of the Mohicans--The Prairie--The Spy.

The Littlepage Manuscripts follow three generations of a Dutch-originated family settling in America, beginning in the mid-eighteenth century. The trilogy is a fictional biography of the Littlepage family which explores the 18th century colony of New York. Novels focus mainly on issues of land ownership and the displacement of American Indians as the United States moves westward. Critical to the trilogy of these novels, is the sense of expansion through the measuring and acquisition of land by civilization. Narratives in these fictional manuscripts reveal a lot about the mentality of the people at that point in history. Satanstoe is the first novel of the trilogy with Mr. Cornelius Littlepage as the main narrator. His writings and descriptions paint the idyllic picture of the life of Dutch colonists. The Chainbearer is the second book in a trilogy, narrated by Mordaunt Littlepage. The title represents the man who carries the chains in measuring the land, helping civilization to grow from the wilderness. Here is described cultural lack of understanding Native Americans had for European concepts of land ownership. The Redskins is the final part of the trilogy with Mr. Hugh Roger Littlepage as narrator. This book closes the series of the Littlepage Manuscripts, which have been given to the world as containing a fair account of the comparative sacrifices of time, money, and labor, made respectively by the landlord and the tenants, on a New York estate. James Fenimore Cooper (1789-1851) was a prolific and popular American writer of the early 19th century. His historical romances of frontier and Indian life created a unique form of American literature. His best-known works are five historical novels of the frontier period known as the Leatherstocking Tales.

An aesthetic of unoriginality shaped literary style and reader taste for decades of the nineteenth century. While critics in the twentieth century and beyond have upheld originality and innovation as essential characteristics of literary achievement, they were not features particularly prized by earlier American audiences, Claudia Stokes contends. On the contrary, readers were taught to value familiarity, traditionalism, and regularity. Literary originality was often seen as a mark of vulgar sensationalism and poor quality. In Old Style Stokes offers the first dedicated study of a forgotten nineteenth-century aesthetic, explicating the forms, practices, conventions, and uses of unoriginality. She focuses in particular on the second quarter of the century, when improvements in printing and distribution caused literary markets to become flooded with new material, and longstanding reading practices came under threat. As readers began to prefer novelty to traditional forms, advocates openly extolled unoriginality in an effort to preserve the old literary ways. Old Style examines this era of significant literary change, during which a once-dominant aesthetic started to give way to modern preferences. If writing in the old style came to be associated with elite conservatism—a linkage that contributed to its decline in the twentieth century—it also, paradoxically provided marginalized writers—people of color, white women, and members of the working class—the literary credentials they needed to enter print. Writing in the old style could affirm an aspiring author's training, command of convention, and respectability. In dismissing unoriginality as the literary purview of the untalented or unambitious, Stokes cautions, we risk overlooking something of vital importance to generations of American writers and readers.